Thursday, October 31, 2013
Wednesday, October 30, 2013
Horrorfest: Jello's Revenge
THE BLOB(Chuck Russell, 1988)
Russell, who directed the best Elm Street film that wasn't helmed by Craven, directed and co-scripted (along with Frank Darabont) this remake of the drive-in classic. An alien blob descends on a small town, absorbing the residents and growing larger as it kills. It's appropriately silly, schlocky fun. The original's classic "blob takes over the theater" climax is held in tact, but there's a larger subplot involving authorities taking over that doesn't work so well. Lots of intentional humor add to the fun. I'm surprised this hasn't been remade again, especially in 3D. At one point, Rob Zombie was going to do a remake, but he seems like the wrong choice. Kevin Dillon and his mullet star, and Saw's Shawnee Smith and The Walking Dead's Jeffrey Demunn also appear. GRADE: B
Despite tomorrow being Halloween, I might try to catch a few more movies over the weekend. If not, I hit 19 films - a lot more than I expected.
Box: New and Improved!
I'll be doing these in this format from now on.
1. Ender's Game - $23m
I wouldn't be surprised if all three openers open to less than $20m, as the opening of this will determine that. Despite the controversy, there just doesn't feel like any buzz for this. I'm sure the book has its fans and the reviews are decent. That opening would give it a finish in the mid 60's.
2. Free Birds - $17m
Cloudy With a Chance of Meatballs 2 is the only family-aimed film released so far this fall season, and there's not another one until Frozen at Thanksgiving. Typically, that would mean this would overperform, but there's minimal buzz. Decent legs will get it to mid 60's.
3. Last Vegas - $16m
Could be a wildcard, but older audiences have had a decent amount of options so far this season. None of those have been comedies, which will help. Hangover for the senior set should finish in the high 40's, possibly 50's depending on word of mouth.
4. Jackass Presents Bad Grandpa - $14.5m
It scored a 'B' cinemascore. I doubt the film's reach extended beyond its core fanbase, so that's kind of low. A drop between 50-60% is in store, bringing the total to about $57m, and a final gross looking to be in the mid to low 80's.
5. Gravity - $13m
Still chugging away, it'll lose some IMAX screens to Ender's Game and even more next week to Thor: The Dark World. It's total so far will be just below $220m and, depending on an Oscartime rerelease, it should finish around $275m.
6. Captain Phillips - $7.5m
That'll take it to the low 80s, with a finsh expected to be just beyond the century mark.
7. 12 Years a Slave - $4m
It did very well in its expansion last weekend, and will hit about 400 theaters on Friday. The plan is to get it to 800+ by Thanksgiving. If it does another $10k+ PTA this weekend, I suspect to an actual wide release faster. 12 Years will be at $8m by Monday, and still very hard to predict just how far it will go when all is said and done. To be fair, the film will be in a decent amount of theaters until the Oscar show in March.
8. Cloudy With a Chance of Meatballs 2 - $3.5m
Will get its biggest drop yet thanks to Free Birds, but it has earned $100m now and will end up at about $115m.
9. The Counselor - $3m
As expected, it was hated by mainstream audiences earning a "D" from Cinemascore. So, it really is another Killing Them Softly. Final gross will be in the high teens. Even with a budget of only $25, that's still a very big disappointment.
10. Carrie - $2.5m
A very underperforming remake, despite almost no horror competition. Gross will be in the mid 30's.
About Time is debuting in 175 theaters before expanding wide next weekend. Universal used similar strategies for Love Actually, Bridget Jones: The Edge of Reason and Pitch Perfect. Expect about $2m this weekend. The film is being sold on the strength of Rachel McAdams and audiences familiarity to Love Actually. There hasn't been an all-out romance movie since February, so this might benefit just slightly from that. Rachel's romcoms/romdrams tend to do well, so I'm thinking it has a shot at getting $30m. Any more will depend on word of mouth and how starved people are for a date night movie.
Blue Is the Warmest Color did just as expected, earning $100k from 4 theaters. It expands to a theater count in the low 30s. Diana is debuting with a similar count but, given how awful that film is supposed to be, I expect it's going nowhere.
1. Ender's Game - $23m
I wouldn't be surprised if all three openers open to less than $20m, as the opening of this will determine that. Despite the controversy, there just doesn't feel like any buzz for this. I'm sure the book has its fans and the reviews are decent. That opening would give it a finish in the mid 60's.
2. Free Birds - $17m
Cloudy With a Chance of Meatballs 2 is the only family-aimed film released so far this fall season, and there's not another one until Frozen at Thanksgiving. Typically, that would mean this would overperform, but there's minimal buzz. Decent legs will get it to mid 60's.
3. Last Vegas - $16m
Could be a wildcard, but older audiences have had a decent amount of options so far this season. None of those have been comedies, which will help. Hangover for the senior set should finish in the high 40's, possibly 50's depending on word of mouth.
4. Jackass Presents Bad Grandpa - $14.5m
It scored a 'B' cinemascore. I doubt the film's reach extended beyond its core fanbase, so that's kind of low. A drop between 50-60% is in store, bringing the total to about $57m, and a final gross looking to be in the mid to low 80's.
5. Gravity - $13m
Still chugging away, it'll lose some IMAX screens to Ender's Game and even more next week to Thor: The Dark World. It's total so far will be just below $220m and, depending on an Oscartime rerelease, it should finish around $275m.
6. Captain Phillips - $7.5m
That'll take it to the low 80s, with a finsh expected to be just beyond the century mark.
7. 12 Years a Slave - $4m
It did very well in its expansion last weekend, and will hit about 400 theaters on Friday. The plan is to get it to 800+ by Thanksgiving. If it does another $10k+ PTA this weekend, I suspect to an actual wide release faster. 12 Years will be at $8m by Monday, and still very hard to predict just how far it will go when all is said and done. To be fair, the film will be in a decent amount of theaters until the Oscar show in March.
8. Cloudy With a Chance of Meatballs 2 - $3.5m
Will get its biggest drop yet thanks to Free Birds, but it has earned $100m now and will end up at about $115m.
9. The Counselor - $3m
As expected, it was hated by mainstream audiences earning a "D" from Cinemascore. So, it really is another Killing Them Softly. Final gross will be in the high teens. Even with a budget of only $25, that's still a very big disappointment.
10. Carrie - $2.5m
A very underperforming remake, despite almost no horror competition. Gross will be in the mid 30's.
About Time is debuting in 175 theaters before expanding wide next weekend. Universal used similar strategies for Love Actually, Bridget Jones: The Edge of Reason and Pitch Perfect. Expect about $2m this weekend. The film is being sold on the strength of Rachel McAdams and audiences familiarity to Love Actually. There hasn't been an all-out romance movie since February, so this might benefit just slightly from that. Rachel's romcoms/romdrams tend to do well, so I'm thinking it has a shot at getting $30m. Any more will depend on word of mouth and how starved people are for a date night movie.
Blue Is the Warmest Color did just as expected, earning $100k from 4 theaters. It expands to a theater count in the low 30s. Diana is debuting with a similar count but, given how awful that film is supposed to be, I expect it's going nowhere.
Tuesday, October 29, 2013
Horrorfest: "Well, the first one was but the rest sucked!" OR DID THEY CASEY BECKER????
FREDDY'S DEAD: THE FINAL NIGHTMARE
(Rachel Talalay, 1991)
Holy shit, this was directed by a woman? Is this the only major horror franchise movie to be directed by a woman? Pretty cool, I guess. It's a very lifeless film, though. Freddy's back to stalk the troubled teens that a counselor is looking after. A counselor that ends up being Freddy's daughter. Krueger gets some backstory here, which ends up being pointless because this is the most wise-cracking, least scary the knived monster has ever been. The teens are very early 90's, which made me nostalgic for the films of my youth. Most of the practical effects and makeup are fun in a cheesy early 90's way. I'd still prefer that to an endless barrage of CGI and digital touchups. This is also probably the least violent/gory of the series. The last act was filmed for 3D and does have some amusing visuals. Ultimately, the film just feels very flat and not scary at all. It also boasts an inexplicable cameo by Tom Arnold and Roseanne, and a cool one by Johnny Depp Breckin Meyer, a staple of 90's teen films, is the only noteworthy cast member. GRADE: C
So, with that done, here's my ranking of the Elm Street films:
1. A NIGHTMARE ON ELM STREET
Honestly, it's either this or New Nightmare. I'll give the original the edge for its clever visuals, gory deaths (Johnny Depp!), and the way it dealt with how traumatic our dreams can be. Essential viewing for horror fans!
2. WES CRAVEN'S NEW NIGHTMARE
Easily the best 7th installment of any franchise ever! (And I really liked Halloween: H20!) I want to put this at #1, because the meta angle really takes it to a whole other level. The perfect way to revitalize the franchise: callbacks to the original, making Freddy terrifying again and a strong commentary on films' effects on not just the audience but the people that make them. I often think this and Scream 2 are the best directing of Craven's career.
3. A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS
Review here.
4. A NIGHTMARE ON ELM STREET: THE DREAM CHILD
Review here.
5. A NIGHTMARE ON ELM STREET PART 2: FREDDY'S REVENGE
Review here.
6. A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER
Review here.
7. FREDDY'S DEAD: THE FINAL NIGHTMARE
Review above.
8. FREDDY VS. JASON
Granted, I haven't seen this since its theatrical release in 2003. I remember it being pretty awful.
Note: I've never seen the 2010 remake, A Nightmare on Elm Street, starring Jackie Earl Haley, Rooney Mara and Connie Britton.
(Rachel Talalay, 1991)
Holy shit, this was directed by a woman? Is this the only major horror franchise movie to be directed by a woman? Pretty cool, I guess. It's a very lifeless film, though. Freddy's back to stalk the troubled teens that a counselor is looking after. A counselor that ends up being Freddy's daughter. Krueger gets some backstory here, which ends up being pointless because this is the most wise-cracking, least scary the knived monster has ever been. The teens are very early 90's, which made me nostalgic for the films of my youth. Most of the practical effects and makeup are fun in a cheesy early 90's way. I'd still prefer that to an endless barrage of CGI and digital touchups. This is also probably the least violent/gory of the series. The last act was filmed for 3D and does have some amusing visuals. Ultimately, the film just feels very flat and not scary at all. It also boasts an inexplicable cameo by Tom Arnold and Roseanne, and a cool one by Johnny Depp Breckin Meyer, a staple of 90's teen films, is the only noteworthy cast member. GRADE: C
So, with that done, here's my ranking of the Elm Street films:
1. A NIGHTMARE ON ELM STREET
Honestly, it's either this or New Nightmare. I'll give the original the edge for its clever visuals, gory deaths (Johnny Depp!), and the way it dealt with how traumatic our dreams can be. Essential viewing for horror fans!2. WES CRAVEN'S NEW NIGHTMARE
Easily the best 7th installment of any franchise ever! (And I really liked Halloween: H20!) I want to put this at #1, because the meta angle really takes it to a whole other level. The perfect way to revitalize the franchise: callbacks to the original, making Freddy terrifying again and a strong commentary on films' effects on not just the audience but the people that make them. I often think this and Scream 2 are the best directing of Craven's career.
3. A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS
Review here.
4. A NIGHTMARE ON ELM STREET: THE DREAM CHILD
Review here.
5. A NIGHTMARE ON ELM STREET PART 2: FREDDY'S REVENGE
Review here.
6. A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER
Review here.
7. FREDDY'S DEAD: THE FINAL NIGHTMARE
Review above.
8. FREDDY VS. JASON
Granted, I haven't seen this since its theatrical release in 2003. I remember it being pretty awful.
Note: I've never seen the 2010 remake, A Nightmare on Elm Street, starring Jackie Earl Haley, Rooney Mara and Connie Britton.
Trailer: Wolf of Wall Street
Much news on this film's front: it's now officially penciled in for a Christmas Day release (instead of the originally scheduled November 15). There was some rumbling it might be held for 2014, but Paramount is instead holding off Jack Ryan until January 17. Wolf has been announced to go in the Comedy/Musical category at the Globes and judging by this trailer that looks to be the right call. Also, the runtime is going to be about 165 minutes. So yeah, swallow all that. This looks very good. Jonah Hill is getting another Oscar nomination, isn't he?
Trailer: "X-Men: Days of Future Past"
I don't know if you know, but there are a lot of people in this movie: Patrick Stewart, Ian McKellan, Hugh Jackman, Halle Berry, Michael Fassbender, James McAvoy, Jennifer Lawrence, Ellen Page, Anna Paquin, Nicholas Hoult, and Peter Dinklage among others. Might end up a crowded movie, but still looking forward to it!
Horrorfest: Fangasm
PHANTASM
(Don Coscarelli, 1979)
Pretty crazy late 70's horror where a young teen faces off against the Tall Man, a villain who stalks a funeral home. Upon researching the film, I learned that it was apparently trimmed down from a reported four hour cut. This makes sense, as a lot of scenes feel they end too abruptly and the transitions are off. I must admit the editing struction of the first act was a little jarring. The orb deaths were pretty cool, and the storyline is rather innovative. It's probably the rare horror classic that hasn't been duplicated and ripped off to death. We also get the rare Final Boy, literally a boy here - a very relatable one. Outside of this and Cemetary Man, why don't more horror movies take place in/around graveyards and funeral homes? GRADE: B
A NIGHTMARE ON ELM STREET: THE DREAM CHILD
(Stephen Hopkins, 1989)
Freddy's back to stalk the survivor of the last installment, Alice. After graduating high school, her hottie boyfriend is killed and she learns she's pregnant. In the womb, the baby is apparently having nightmares and you know who is out to possibly possess him. Yeah, I know? We're on the fifth chapter, so what do you expect? That said, I found this better than the last one. It's nothing spectacular, and the pregnancy angle gives the story enough kick that it's a bit more memorable than a movie where Freddy just stalks teens. He does, obviously, but the dream sequences - mostly taking place in an asylum - are a lot darker and therefore scarier here. There's also a lot of very 80's music video-esque visual tricks, which was amusing. The comic book sequence was fun. I'm watching the sixth Nightmare next, and then I'll have completed this franchise. Next year, I think I'll attempt the Friday the 13th series. GRADE: B-
(Don Coscarelli, 1979)
Pretty crazy late 70's horror where a young teen faces off against the Tall Man, a villain who stalks a funeral home. Upon researching the film, I learned that it was apparently trimmed down from a reported four hour cut. This makes sense, as a lot of scenes feel they end too abruptly and the transitions are off. I must admit the editing struction of the first act was a little jarring. The orb deaths were pretty cool, and the storyline is rather innovative. It's probably the rare horror classic that hasn't been duplicated and ripped off to death. We also get the rare Final Boy, literally a boy here - a very relatable one. Outside of this and Cemetary Man, why don't more horror movies take place in/around graveyards and funeral homes? GRADE: BA NIGHTMARE ON ELM STREET: THE DREAM CHILD
(Stephen Hopkins, 1989)
Freddy's back to stalk the survivor of the last installment, Alice. After graduating high school, her hottie boyfriend is killed and she learns she's pregnant. In the womb, the baby is apparently having nightmares and you know who is out to possibly possess him. Yeah, I know? We're on the fifth chapter, so what do you expect? That said, I found this better than the last one. It's nothing spectacular, and the pregnancy angle gives the story enough kick that it's a bit more memorable than a movie where Freddy just stalks teens. He does, obviously, but the dream sequences - mostly taking place in an asylum - are a lot darker and therefore scarier here. There's also a lot of very 80's music video-esque visual tricks, which was amusing. The comic book sequence was fun. I'm watching the sixth Nightmare next, and then I'll have completed this franchise. Next year, I think I'll attempt the Friday the 13th series. GRADE: B-
Saturday, October 26, 2013
Horrorfest: The scariest thing is that I'm now 30.
MULBERRY STREET
(Jim Mickle, 2007)
After loving Mickle's Stake Land and really looking forward to his We Are What We Are, I thought I'd check out his first film. This played with the "8 Films To Die For - After Dark Horrorfest" that happened in 2007. Remember that? They did it like 2 years. Anyways, the denizens of a New York City tenement battle a rapidly spreading virus that turns people into rats. It sounds ridiculous, and it is, but the film's gritty aesthetic and authentic acting (the cast is comprised almost entirely of no-names) keep it grounded in reality. As in Stake Land, Mickle is great at showing the dynamics of a makeshift family. That aspect is easily the film's strongest, as the genre elements are a tad derivative. The very real characters make up for it, though. Nick Damici (who co-scripted) stars and I'm really starting to wonder why he isn't a bigger presence in film. GRADE: B
THE DEAD ZONE
(David Cronenberg, 1983)
I'd say this is probably Cronenberg's most mainstream film. Yes, even more so than The Fly and A History of Violence. I think of the films I've seen by him, this is my least liked. I knew one of The Simpsons' Treehouse of Horrors' segments was based on this, and I completely forgot there was also a USA series, too. Christopher Walken is a teacher (amusingly, he talks to his students about The Legend of Sleepy Hollow) who gets into a car accident and slips into a coma for 5 years. After waking, he has a supernatural gift of forseeing the future of anyone he touches. His gift eventually puts him at odds with a crooked politician (Martin Sheen, at his most skeezy). Walken is fittingly Walken-y, but other than that there wasn't much here for me to like. It felt like The Manchurian Candidate with some paranormal elements. GRADE: C
THE DEVIL'S BACKBONE
(Guillermo Del Toro, 2001)
Del Toro's sorta companion film to Pan's Labyrinth in which the son of a recently deceased Spanish Civil War soldier is sent to live in an orphanage where a ghost resides. Like Pan's, the fantastical elements are incidental to the main story. Always nice to see a genre film that keeps its story first and lets the scares flourish naturally. There is blood and scares, but the story is gripping enough on its own. That said, I think Pan's was overall a much (much much) better film. That said, Eduardo Noriega is, like, insanely hot. GRADE: B+
KISS OF THE DAMNED
(Xan Cassavetes, 2013)
Stylish tribute to the erotic Euro-horror movies of the past, a young female vampire (Josephine de La Baume) brings home a screenwriter (Gilmore Girls' Milo Ventimiglia, YUMMMM), converts him, then her sister (Eva Green doppleganger Roxane Mesquida) arrives and throws a wrench into the situation. The music, costumes, cinematography and sound design are top notch, casting a hallucinogenic spell. The actors are mere props, the mood is the real star. The film is very surface level feeling almost like a Vogue photoshoot with fangs. It's an homage, so these minor criticisms don't bother me. Hey, at least it's a vampire movie with sex and blood. Remember those? GRADE: B+
(Jim Mickle, 2007)
After loving Mickle's Stake Land and really looking forward to his We Are What We Are, I thought I'd check out his first film. This played with the "8 Films To Die For - After Dark Horrorfest" that happened in 2007. Remember that? They did it like 2 years. Anyways, the denizens of a New York City tenement battle a rapidly spreading virus that turns people into rats. It sounds ridiculous, and it is, but the film's gritty aesthetic and authentic acting (the cast is comprised almost entirely of no-names) keep it grounded in reality. As in Stake Land, Mickle is great at showing the dynamics of a makeshift family. That aspect is easily the film's strongest, as the genre elements are a tad derivative. The very real characters make up for it, though. Nick Damici (who co-scripted) stars and I'm really starting to wonder why he isn't a bigger presence in film. GRADE: B
THE DEAD ZONE
(David Cronenberg, 1983)
I'd say this is probably Cronenberg's most mainstream film. Yes, even more so than The Fly and A History of Violence. I think of the films I've seen by him, this is my least liked. I knew one of The Simpsons' Treehouse of Horrors' segments was based on this, and I completely forgot there was also a USA series, too. Christopher Walken is a teacher (amusingly, he talks to his students about The Legend of Sleepy Hollow) who gets into a car accident and slips into a coma for 5 years. After waking, he has a supernatural gift of forseeing the future of anyone he touches. His gift eventually puts him at odds with a crooked politician (Martin Sheen, at his most skeezy). Walken is fittingly Walken-y, but other than that there wasn't much here for me to like. It felt like The Manchurian Candidate with some paranormal elements. GRADE: C
THE DEVIL'S BACKBONE
(Guillermo Del Toro, 2001)
Del Toro's sorta companion film to Pan's Labyrinth in which the son of a recently deceased Spanish Civil War soldier is sent to live in an orphanage where a ghost resides. Like Pan's, the fantastical elements are incidental to the main story. Always nice to see a genre film that keeps its story first and lets the scares flourish naturally. There is blood and scares, but the story is gripping enough on its own. That said, I think Pan's was overall a much (much much) better film. That said, Eduardo Noriega is, like, insanely hot. GRADE: B+
KISS OF THE DAMNED(Xan Cassavetes, 2013)
Stylish tribute to the erotic Euro-horror movies of the past, a young female vampire (Josephine de La Baume) brings home a screenwriter (Gilmore Girls' Milo Ventimiglia, YUMMMM), converts him, then her sister (Eva Green doppleganger Roxane Mesquida) arrives and throws a wrench into the situation. The music, costumes, cinematography and sound design are top notch, casting a hallucinogenic spell. The actors are mere props, the mood is the real star. The film is very surface level feeling almost like a Vogue photoshoot with fangs. It's an homage, so these minor criticisms don't bother me. Hey, at least it's a vampire movie with sex and blood. Remember those? GRADE: B+
Wednesday, October 23, 2013
Box: Have you been bad, grandpa?
1. Bad Grandpa - $30m / $30m / $80m
2. Gravity - $19.5m / $199m / $265m
3. The Counselor - $11m / $11m / $30m
4. Captain Phillips - $10.5m / $69m / $100m
5. Carrie - $7.5m / $28m / $42m
6. Cloudy With a Chance of Meatballs 2 - $7m / $101.5m / $118m
7. Escape Plan - $5m / $18.5m / $29m
8. 12 Years a Slave - $1.5m / $2.7m / $65m
9. Enough Said - $1.3m / $13m / $18m
10. Prisoners - $1.2m / $59.5m / $62m
Jackass presents Bad Grandpa will end the Gravity victory train. Based on the popularity of the last Jackass movie three years ago and the fact that the trailer always goes over like gangbusters, it might go even higher. Sadly, The Counselor is going nowhere. All that great buzz about the readily available screenplay had yielded a divisive movie. At least, I think. There's an embargo on reviews till tomorrow which is a really bad sign, but early Twitter reaction points to a love it or hate it film. I can't remember the last high profile, star studded film that made critics hold off on reviews. Is there a more inconsistent director than Ridley Scott? Bleh, I guess Cameron is never getting that Oscar nomination. 12 Years a Slave expands to over 100 theaters, which will get it in the top 10 no problems. It's PTA last weekend was around $50k, very very good. Searchlight is planning a very slow expansion, but that could change if it keeps the high PTAs. All Is Lost, which was supposed to go nationwide this weekend, has cancelled those plans based on a lower than expected PTA last weekend. Roadside can look for a gross closer to Winter's Bone than Mud. The NC-17 rated Blue Is the Warmest Color opens in 4 theaters. I expect it to total about 2-3m, but the buzz is pretty loud so it could go further.
2. Gravity - $19.5m / $199m / $265m
3. The Counselor - $11m / $11m / $30m
4. Captain Phillips - $10.5m / $69m / $100m
5. Carrie - $7.5m / $28m / $42m
6. Cloudy With a Chance of Meatballs 2 - $7m / $101.5m / $118m
7. Escape Plan - $5m / $18.5m / $29m
8. 12 Years a Slave - $1.5m / $2.7m / $65m
9. Enough Said - $1.3m / $13m / $18m
10. Prisoners - $1.2m / $59.5m / $62m
Jackass presents Bad Grandpa will end the Gravity victory train. Based on the popularity of the last Jackass movie three years ago and the fact that the trailer always goes over like gangbusters, it might go even higher. Sadly, The Counselor is going nowhere. All that great buzz about the readily available screenplay had yielded a divisive movie. At least, I think. There's an embargo on reviews till tomorrow which is a really bad sign, but early Twitter reaction points to a love it or hate it film. I can't remember the last high profile, star studded film that made critics hold off on reviews. Is there a more inconsistent director than Ridley Scott? Bleh, I guess Cameron is never getting that Oscar nomination. 12 Years a Slave expands to over 100 theaters, which will get it in the top 10 no problems. It's PTA last weekend was around $50k, very very good. Searchlight is planning a very slow expansion, but that could change if it keeps the high PTAs. All Is Lost, which was supposed to go nationwide this weekend, has cancelled those plans based on a lower than expected PTA last weekend. Roadside can look for a gross closer to Winter's Bone than Mud. The NC-17 rated Blue Is the Warmest Color opens in 4 theaters. I expect it to total about 2-3m, but the buzz is pretty loud so it could go further.
Monday, October 21, 2013
Horrorfest: Enough Candy To Make Your Head Explode
I DIDN'T COME HERE TO DIE
(Bradley Scott Sullivan, 2013ish)
The end of the video store has led to Darren plucking Grade-Z horror films from the modern day "convenience" that is Redbox. (Yes, I'm still moaning about the extinction of the movie rental store AND I WILL NEVER STOP!) Bookended for no real reason with Grindhouse-y scratched scenes, this (very very) low budget horror/comedy follows a group of volunteers building a recreation area in the forest while a killer slices them up one by one. Full disclosure: I was asleep for about a third of this. That said, what I did see I can't even remember a few days later. The acting isn't as bad as it probably should be, so there might be some talent that emerges unscathed. GRADE: D+
FUN SIZE
(Josh Schwartz, 2012)
Like my endless ranting about no more video stores, my second most popular complaint from Horrorfest is the lack of non-horror Halloween movies. Good examples: The Addams Family movies, Hocus Pocus and Practical Magic. Bad examples: this. Well, it's not terrible really. The first hour is. It's a little too apparent this is a debut feature, because scenes are so awkwardly staged that it leaves the mostly talented cast stranded. Somehow though, the last 20 or so minutes come together nicely and it feels like an ending to a movie I would have honestly enjoyed. Victoria Justice is a high school senior stuck babysitting her bratty younger brother instead of partying with her slutty friend (Jane Levy, so terrific in Evil Dead and Suburgatory but completely wasted here) at the Halloween party of her crush. It's very Adventures in Babysitting, which would be great if the comedy were, you know, funny and the shenanigans a little more original. The film was a dud when released last year probably because of the unnecessary PG-13 rating. It's a Nickelodeon film, and the minor swearing should've been trimmed. Bit parts come courtesy of a surprisingly good Chelsea Handler, and former Saturday Night Live cast members Abby Elliot and Ana Gasteyer. So, the lesson here is more movies like this, but less movies like this. Get it? GRADE: C-
IN THE MOUTH OF MADNESS
(John Carpenter, 1995)
Released just month's prior to his Village of the Damned remake (which I really liked!), John Carpenter made this Stephen King adaptation. Remember how huge those were a couple decades ago? Sam Neill is an insurance investigator looking for a missing best-selling author whose books have a murderous effect on fans. I liked the mystery the film set up, but once it got to the town and we were dealing with buggy creatures I was reminded of the cheesiness of some of those King adaptations. This is one of the last horror films in Carpenter's oeuvre that I have to see and I found it to be one of the weakest. Madness felt way too early-90's-King-adaptation. I thought The Mist pulled off the bugginess a lot better. I'm buggin out! And the ending was way too meta. GRADE: C+
SCANNERS
(David Cronenberg, 1981)
Early work from Canada's bizarre auteur focusing on the "scanners", a group of telekinetics who can also read minds and a corporate war being waged to control them. Cronenberg loves his body horror and I wouldn't have it any other way, though I found this to be not as great as I was hoping. The film feels too distanced from the viewer, it's a little hard to care about everyhing happening. It still has a lot to offer, mainly some pretty terrific makeup/gore effects. The film's famous head exploding sequence is a doozy - it happens early on so I'm not spoiling anything but I think everyone who knows about this film probably knows about it. I know others complained about the lead actor, but I thought his stilted delivery worked for this film. Like most of David's other early work, this has been the topic of remake buzz but it's never come to fruition. GRADE: B
(Bradley Scott Sullivan, 2013ish)
The end of the video store has led to Darren plucking Grade-Z horror films from the modern day "convenience" that is Redbox. (Yes, I'm still moaning about the extinction of the movie rental store AND I WILL NEVER STOP!) Bookended for no real reason with Grindhouse-y scratched scenes, this (very very) low budget horror/comedy follows a group of volunteers building a recreation area in the forest while a killer slices them up one by one. Full disclosure: I was asleep for about a third of this. That said, what I did see I can't even remember a few days later. The acting isn't as bad as it probably should be, so there might be some talent that emerges unscathed. GRADE: D+
FUN SIZE
(Josh Schwartz, 2012)
IN THE MOUTH OF MADNESS
(John Carpenter, 1995)
Released just month's prior to his Village of the Damned remake (which I really liked!), John Carpenter made this Stephen King adaptation. Remember how huge those were a couple decades ago? Sam Neill is an insurance investigator looking for a missing best-selling author whose books have a murderous effect on fans. I liked the mystery the film set up, but once it got to the town and we were dealing with buggy creatures I was reminded of the cheesiness of some of those King adaptations. This is one of the last horror films in Carpenter's oeuvre that I have to see and I found it to be one of the weakest. Madness felt way too early-90's-King-adaptation. I thought The Mist pulled off the bugginess a lot better. I'm buggin out! And the ending was way too meta. GRADE: C+
SCANNERS
(David Cronenberg, 1981)
Early work from Canada's bizarre auteur focusing on the "scanners", a group of telekinetics who can also read minds and a corporate war being waged to control them. Cronenberg loves his body horror and I wouldn't have it any other way, though I found this to be not as great as I was hoping. The film feels too distanced from the viewer, it's a little hard to care about everyhing happening. It still has a lot to offer, mainly some pretty terrific makeup/gore effects. The film's famous head exploding sequence is a doozy - it happens early on so I'm not spoiling anything but I think everyone who knows about this film probably knows about it. I know others complained about the lead actor, but I thought his stilted delivery worked for this film. Like most of David's other early work, this has been the topic of remake buzz but it's never come to fruition. GRADE: B
Thursday, October 17, 2013
Trailer: Non-Stop
This looks like ridiculously awesome stupid fun. I really hope Julianne Moore isn't the killer as that would seem way too obvious based on the trailer. Plus, the supporting cast is kinda great: Lupita Nyong'o, Scoot McNairy, Linus Roache, Michelle Dockery and hottie Corey Stoll. With Neeson as the lead, I kept waiting for wolves to show up and steal his daughter.
Wednesday, October 16, 2013
Box: They're all gonna laugh with you, not at you.
1. Gravity - $30m / $169m / $265m
2. Carrie - $20m / $20m / $45m
3. Captain Phillips - $16.5m / $53m / $100m
4. Cloudy With a Chance of Meatballs 2 - $9.5m / $92.5m / $120m
5. Escape Plan - $9m / $9m / $24m
6. The Fifth Estate - $5m / $5m / $13m
7. Prisoners - $2m / $57m / $62m
8. Insidious: Chapter 2 - $1.6m / $81m / $85m
*Machete Kills - $1.6m / $7m / $10m
*Runner Runner - $1.6m / $17.5m / $21m
Gravity is on its way to being the highest grossing film to ever open in October. Both it and Captain Phillips will have strong holds for the next several weeks. Carrie, of the three wide releases, will be the only one to make a dent. It'll be helped by being the only horror film in October. The film's reviews are being held off, so don't expect quality sadly. Both Arnold and Sly's genre entries this year - The Last Stand and Bullet to the Head - did dismal numbers. But this film has box-office juggernaut Amy Ryan! Nah, Escape Plan is going nowhere, as is The Fifth Estate. The mediocre reviews will hurt that one. Possibly making it in to the top 10 is 12 Years a Slave, debuting in 18 theaters. I suspect it will cross $1m for the weekend, a fantastic number. The buzz is so big that it could go even higher.
2. Carrie - $20m / $20m / $45m
3. Captain Phillips - $16.5m / $53m / $100m
4. Cloudy With a Chance of Meatballs 2 - $9.5m / $92.5m / $120m
5. Escape Plan - $9m / $9m / $24m
6. The Fifth Estate - $5m / $5m / $13m
7. Prisoners - $2m / $57m / $62m
8. Insidious: Chapter 2 - $1.6m / $81m / $85m
*Machete Kills - $1.6m / $7m / $10m
*Runner Runner - $1.6m / $17.5m / $21m
Gravity is on its way to being the highest grossing film to ever open in October. Both it and Captain Phillips will have strong holds for the next several weeks. Carrie, of the three wide releases, will be the only one to make a dent. It'll be helped by being the only horror film in October. The film's reviews are being held off, so don't expect quality sadly. Both Arnold and Sly's genre entries this year - The Last Stand and Bullet to the Head - did dismal numbers. But this film has box-office juggernaut Amy Ryan! Nah, Escape Plan is going nowhere, as is The Fifth Estate. The mediocre reviews will hurt that one. Possibly making it in to the top 10 is 12 Years a Slave, debuting in 18 theaters. I suspect it will cross $1m for the weekend, a fantastic number. The buzz is so big that it could go even higher.
Tuesday, October 15, 2013
Tina Fey and Amy Poehler to Host 2014 AND 2015 Golden Globes!
Hooray!
I'm sure Taylor Swift is writing a song as we speak.
I'm sure Taylor Swift is writing a song as we speak.
Saturday, October 12, 2013
Horrorfest: H/F/2
I forget to mention in my first post about the weather. I bitched 2 years ago when a freak snowstorm finished out October, and last year we got Hurricane Sandy. This year, October began with unusually warm weather (highs in the mid 80's) and now it's raining nonstop. Fitting that the next movie in my fest is about an earthquake, because that's probably where we're headed.
AFTERSHOCK
(Nicolas Lopez , 2013)
Eli Roth co-wrote, co-produced, co-stars and co-catered (seriously, his name is in the opening credits like seven times) this "horror-ish" film is about a group of travelers in Chile battling the effects of a massive earthquake. What Mother Nature didn't kill, human nature will finish off! (Taglines by Darren!) The first third is just a travelogue with our characters bouncing from club to club, and it feels like they realized the running time was too short and padded the beginning scenes. Selena Gomez even stops in for an arbitrary cameo. The earthquake itself is decently staged, despite a very low budget. Lots of bloody carnage, but once the action moves outside it should feel a lot more dangerous than it does. There's not much dread, and our characters go from one bloody encounter to the next. Looters and gangs provide most of the danger. Basically, it's a bloodier, cheaper Roland Emmerich movie. Cool ending shot, though. GRADE: C-
C.H.U.D.
(Douglas Cheek, 1984)
C.H.U.D. meaning Cannibalistic Humanoid Underground Dwellers. Even with a title like that, there's little fun to be had in this very very 80's shocker about a photographer and journalist teaming up to find out if mutant cannibals living in the sewers are causing a rash of murders. (Hint: they are.) I'm surprised this hasn't been remade as it seems to have a small following and a decent enough story pitch. I guess the closest thing since has been Mimic. That said, it's a very bland film and only a few days later I'm having trouble remembering most of it. A film like this needs to go full-on gross out goriness to work. Pre-Home Alone John Heard and Daniel Stern star, and John Goodman has a brief appearance as a cop. GRADE: C
A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER
(Renny Harlin, 1988)
After the superior third installment, this is a pretty weak offering. The second film had the gay angle, the third one had the suicide storyline, but this one is just straight ahead Freddy Krueger killing teens with no subtext. There's some inventive sequences, but here Freddy becomes rote and non-threatening. The acting and dialogue is very 80's teen movie, distracting instead of charming. Future Oscar-winner Brian Helgeland co-scripted. I didn't even realize until afterwards that the main character is the same one from the third film (there played by Patricia Arquette), here played by a different actress. Her character goes into the fifth film, so I really just have to see that and the sixth and then I'm finished this franchise. GRADE: C
THE FUNHOUSE
(Tobe Hooper, 1981)
A group of teens decides to spend the night at a carnival funhouse because it seems like a fun idea and the plot requires them to. Hooper's skill at raw terror with the first two Texas Chainsaw movies is sorely lacking in this one. Very little suspense is generated and the deaths are an afterthought. Even at a trim 90ish minutes, it feels too long and plods along very slowly. A carnival could be a good place to set a horror movie, especially with all those clowns popping out of nowhere and manically laughing. GRADE: C-
V/H/S/2
(Various, 2013)
I mostly enjoyed the first installment despite it making me almost naseous from the shakey cam (and I rarely have that problem) and the pervasive misogny. This is a big step up from that one, and both of those problems are kept to a minimum. It follows the same story as the first: people break into a house where they find a collection of VHS's that each play a short horror film. The first story, in which a man is given a cyborgish eye that causes him to see ghosts, is probably the weakest. The second, showing us a camera mounted on a man as he turns into a zombie and searches for human flesh, is better and has some nice moments of black humor. The third is the spectacular centerpiece and would work as a full movie: a journalist and his team explore a cult leader in his compound. The last couple of minutes in it is totally bonkers and just the sort of craziness these movies should be. The fourth is up my alley as I love alien-related shit, and it's basically a teen house party crossed with an alien invasion. The wrap-around story works much better this time, and the gore and creativity is plentiful. You don't need to see V/H/S to see V/H/S/2. I hope there's a V/H/S/3. But yeah, that third story is probably the best thing in my horrorfest so far. That, and this film's cameo appearance by co-writer Simon Barrett. Very nice nude scene, man. Yum. Horror needs more male nudity. GRADE: B+
AFTERSHOCK
(Nicolas Lopez , 2013)
Eli Roth co-wrote, co-produced, co-stars and co-catered (seriously, his name is in the opening credits like seven times) this "horror-ish" film is about a group of travelers in Chile battling the effects of a massive earthquake. What Mother Nature didn't kill, human nature will finish off! (Taglines by Darren!) The first third is just a travelogue with our characters bouncing from club to club, and it feels like they realized the running time was too short and padded the beginning scenes. Selena Gomez even stops in for an arbitrary cameo. The earthquake itself is decently staged, despite a very low budget. Lots of bloody carnage, but once the action moves outside it should feel a lot more dangerous than it does. There's not much dread, and our characters go from one bloody encounter to the next. Looters and gangs provide most of the danger. Basically, it's a bloodier, cheaper Roland Emmerich movie. Cool ending shot, though. GRADE: C-C.H.U.D.
(Douglas Cheek, 1984)
C.H.U.D. meaning Cannibalistic Humanoid Underground Dwellers. Even with a title like that, there's little fun to be had in this very very 80's shocker about a photographer and journalist teaming up to find out if mutant cannibals living in the sewers are causing a rash of murders. (Hint: they are.) I'm surprised this hasn't been remade as it seems to have a small following and a decent enough story pitch. I guess the closest thing since has been Mimic. That said, it's a very bland film and only a few days later I'm having trouble remembering most of it. A film like this needs to go full-on gross out goriness to work. Pre-Home Alone John Heard and Daniel Stern star, and John Goodman has a brief appearance as a cop. GRADE: C
A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER
(Renny Harlin, 1988)
After the superior third installment, this is a pretty weak offering. The second film had the gay angle, the third one had the suicide storyline, but this one is just straight ahead Freddy Krueger killing teens with no subtext. There's some inventive sequences, but here Freddy becomes rote and non-threatening. The acting and dialogue is very 80's teen movie, distracting instead of charming. Future Oscar-winner Brian Helgeland co-scripted. I didn't even realize until afterwards that the main character is the same one from the third film (there played by Patricia Arquette), here played by a different actress. Her character goes into the fifth film, so I really just have to see that and the sixth and then I'm finished this franchise. GRADE: C
THE FUNHOUSE
(Tobe Hooper, 1981)
A group of teens decides to spend the night at a carnival funhouse because it seems like a fun idea and the plot requires them to. Hooper's skill at raw terror with the first two Texas Chainsaw movies is sorely lacking in this one. Very little suspense is generated and the deaths are an afterthought. Even at a trim 90ish minutes, it feels too long and plods along very slowly. A carnival could be a good place to set a horror movie, especially with all those clowns popping out of nowhere and manically laughing. GRADE: C-
V/H/S/2
(Various, 2013)
I mostly enjoyed the first installment despite it making me almost naseous from the shakey cam (and I rarely have that problem) and the pervasive misogny. This is a big step up from that one, and both of those problems are kept to a minimum. It follows the same story as the first: people break into a house where they find a collection of VHS's that each play a short horror film. The first story, in which a man is given a cyborgish eye that causes him to see ghosts, is probably the weakest. The second, showing us a camera mounted on a man as he turns into a zombie and searches for human flesh, is better and has some nice moments of black humor. The third is the spectacular centerpiece and would work as a full movie: a journalist and his team explore a cult leader in his compound. The last couple of minutes in it is totally bonkers and just the sort of craziness these movies should be. The fourth is up my alley as I love alien-related shit, and it's basically a teen house party crossed with an alien invasion. The wrap-around story works much better this time, and the gore and creativity is plentiful. You don't need to see V/H/S to see V/H/S/2. I hope there's a V/H/S/3. But yeah, that third story is probably the best thing in my horrorfest so far. That, and this film's cameo appearance by co-writer Simon Barrett. Very nice nude scene, man. Yum. Horror needs more male nudity. GRADE: B+
Thursday, October 10, 2013
Trailer: American Hustle
I prefer the first trailer, I liked the feel of that a bit more. The actors look very good.
Wednesday, October 9, 2013
Box: It's nice to see pirates on screen that aren't played by Johnny Depp.
1. Gravity - $36m / $115m / $200m
2. Captain Phillips - $21m / $21m / $85m
3. Cloudy With a Chance of Meatballs 2 - $13.5m / $77m / $115m
4. Machete Kills - $7m / $7m / $16m
5. Runner Runner - $3m / $13.5m / $19m
*Prisoners - $3m / $53m / $60m
7. Rush - $2.5m / $22.5m / $29m
8. Baggage Claim - $2m / $18m / $22m
*Don Jon - $2m / $20m / $24m
*Enough Said - $2m / $8m / $20m
*Insidious: Chapter 2 - $2m / $77.5m / $81m
Gravity shattered even the highest expectations last week: records broke included highest October opening, highest Sandra Bullock opening, highest George Clooney opening, biggest opening for a live action "original film" (non-sequel, non adaptation) since Inception, among a few others. It also had a very strong increase on Saturday, always a sign that the film is clicking with audiences. Runner Runner, meanwhile, became another in the endless punchlines in the career of Ben Affleck. Perhaps he needs to realize that he should only stick to directing and if he must star it should only be a film he directed. Justin Timberlake is a major draw in international markets but stumbles at home. Captain Phillips will probably be hurt by Gravity more than the other way around, but adults looking for a more traditional adventure should still show up. I expect a run similar to Flight. I'm still not sure how exactly Machete Kills got made, and it's sad that Robert Rodriguez can apparently get money to do anything and that is what he chooses to make. But, hey, film debut of Lady Gaga! So nevermind.
ETA: Romeo and Juliet debuts in about 450 theaters. I doubt it does anything more than $1.5m. Haven't seen any advertising for it at all. Also, after almost 7 years on the shelf/in limbo/whereever, All the Boys Love Mandy Lane gets a small theatrical release from Radius-TWC. I look forward to finally catching that one when it hits DVD/Blu in a few months.
2. Captain Phillips - $21m / $21m / $85m
3. Cloudy With a Chance of Meatballs 2 - $13.5m / $77m / $115m
4. Machete Kills - $7m / $7m / $16m
5. Runner Runner - $3m / $13.5m / $19m
*Prisoners - $3m / $53m / $60m
7. Rush - $2.5m / $22.5m / $29m
8. Baggage Claim - $2m / $18m / $22m
*Don Jon - $2m / $20m / $24m
*Enough Said - $2m / $8m / $20m
*Insidious: Chapter 2 - $2m / $77.5m / $81m
Gravity shattered even the highest expectations last week: records broke included highest October opening, highest Sandra Bullock opening, highest George Clooney opening, biggest opening for a live action "original film" (non-sequel, non adaptation) since Inception, among a few others. It also had a very strong increase on Saturday, always a sign that the film is clicking with audiences. Runner Runner, meanwhile, became another in the endless punchlines in the career of Ben Affleck. Perhaps he needs to realize that he should only stick to directing and if he must star it should only be a film he directed. Justin Timberlake is a major draw in international markets but stumbles at home. Captain Phillips will probably be hurt by Gravity more than the other way around, but adults looking for a more traditional adventure should still show up. I expect a run similar to Flight. I'm still not sure how exactly Machete Kills got made, and it's sad that Robert Rodriguez can apparently get money to do anything and that is what he chooses to make. But, hey, film debut of Lady Gaga! So nevermind.
ETA: Romeo and Juliet debuts in about 450 theaters. I doubt it does anything more than $1.5m. Haven't seen any advertising for it at all. Also, after almost 7 years on the shelf/in limbo/whereever, All the Boys Love Mandy Lane gets a small theatrical release from Radius-TWC. I look forward to finally catching that one when it hits DVD/Blu in a few months.
Saturday, October 5, 2013
Horrorfest 4: The Legend Continues!
YAH OCTOBER IS HERE! Time for my annual month-long marathon of horror. I start with two recent films that were barely released in the spring. That's always promising!
NO ONE LIVES
(Ryuhei Kiamura, 2013)
A couple on a road trip stop in a small town where they are harassed at a bar by a group of criminals who just shot up a family they were robbing. You think it's headed toward a Straw Dogs-esque showdown, but instead if throws us a giant curve ball which I won't reveal. (I should, you're not missing anything good if you skip this. Watch the trailer if you want to know.) Any cleverness ends there and what we're left with is horrible acting/dialogue and over the top gore. And really awful characters. Very heterosexual Luke Evans is the lead and is okay in the role. I haven't been overly impressed with him in everything, but he's hot and you see his ass here. There is a very cool moment where he actually emerges from someone's body, soaked in blood. It's one of about two well directed sequences. Adelaide Clemens is easily the best thing about it, and I was surprised at the people on IMDB dogging her for this performance. Should you really be shocked by anything you read on IMDB's boards? The low part is Laura Ramsey, who gives one of the worst performances I've seen in quite a while. She mumbles all her lines with little emotion. I get that the problem inherent with the storyline is that no one is really likable. Antiheroes can be fascinating, but everyone here is just a nasty obnoxious shit that says fuck a lot. GRADE: D
THE LORDS OF SALEM
(Rob Zombie, 2013)
I didn't like House of 1000 Corpses. At all. I thought The Devil's Rejects was okay, but Zombie showed some promise. I skipped the Halloween remakes because DUH! Zombie returns with this tale of a DJ (his wife, Sheri Moon Zombie) in modern Salem who begins having demonic visions after playing a mysterious record. The film operates at a nice slow burn, with gorgeous cinematography and production design. Though Mr. Zombie is obviously infatuated with a 70's aesthetic, this has more of the polished look of a current music video. Mrs. Zombie is very effective in the lead role, and there's a lot of genre faves sprinkled in the supporting cast (included Dee Wallace, Ken Forree and Meg Foster). The film will probably be a touch too surreal (and perhaps blasphemous!) for mainstream genre fans, and the story doesn't quite flow as smoothly as it should. It's still a well-made, very creepy (more so than scary) diversion that should please more discerning horror-lovers looking for chills that get under your skin. That main music by the Lords of Salem definitely succeeds in that regard. Some of the images towards the end made me wince. I hope Rob continues to grow as a filmmaker and I can honestly say I look forward to his next film. I'm also happy someone finally made a movie about witches as I believe I've said in previous horrorfest posts that we need more witchcraft in horror. Very underutilized. GRADE: B+
NO ONE LIVES
(Ryuhei Kiamura, 2013)
A couple on a road trip stop in a small town where they are harassed at a bar by a group of criminals who just shot up a family they were robbing. You think it's headed toward a Straw Dogs-esque showdown, but instead if throws us a giant curve ball which I won't reveal. (I should, you're not missing anything good if you skip this. Watch the trailer if you want to know.) Any cleverness ends there and what we're left with is horrible acting/dialogue and over the top gore. And really awful characters. Very heterosexual Luke Evans is the lead and is okay in the role. I haven't been overly impressed with him in everything, but he's hot and you see his ass here. There is a very cool moment where he actually emerges from someone's body, soaked in blood. It's one of about two well directed sequences. Adelaide Clemens is easily the best thing about it, and I was surprised at the people on IMDB dogging her for this performance. Should you really be shocked by anything you read on IMDB's boards? The low part is Laura Ramsey, who gives one of the worst performances I've seen in quite a while. She mumbles all her lines with little emotion. I get that the problem inherent with the storyline is that no one is really likable. Antiheroes can be fascinating, but everyone here is just a nasty obnoxious shit that says fuck a lot. GRADE: DTHE LORDS OF SALEM
(Rob Zombie, 2013)
I didn't like House of 1000 Corpses. At all. I thought The Devil's Rejects was okay, but Zombie showed some promise. I skipped the Halloween remakes because DUH! Zombie returns with this tale of a DJ (his wife, Sheri Moon Zombie) in modern Salem who begins having demonic visions after playing a mysterious record. The film operates at a nice slow burn, with gorgeous cinematography and production design. Though Mr. Zombie is obviously infatuated with a 70's aesthetic, this has more of the polished look of a current music video. Mrs. Zombie is very effective in the lead role, and there's a lot of genre faves sprinkled in the supporting cast (included Dee Wallace, Ken Forree and Meg Foster). The film will probably be a touch too surreal (and perhaps blasphemous!) for mainstream genre fans, and the story doesn't quite flow as smoothly as it should. It's still a well-made, very creepy (more so than scary) diversion that should please more discerning horror-lovers looking for chills that get under your skin. That main music by the Lords of Salem definitely succeeds in that regard. Some of the images towards the end made me wince. I hope Rob continues to grow as a filmmaker and I can honestly say I look forward to his next film. I'm also happy someone finally made a movie about witches as I believe I've said in previous horrorfest posts that we need more witchcraft in horror. Very underutilized. GRADE: B+
Wednesday, October 2, 2013
Box: Hope Floats...In Space
Or the rejected pitch to Miss Congeniality 3, where she goes into space.
1. Gravity - $37m / $37m / $140m
2. Cloudy With a Chance of Meatballs 2 - $21m / $60m / $125m
3. Runner Runner - $10m / $10m / $26m
4. Prisoners - $6m / $48.5m / $64m
*Rush - $6m / $20m / $35m
6. Baggage Claim - $4.5m / $15.5m / $27m
7. Don Jon - $4m / $16m / $25m
8. Insidious: Chapter 2 - $3m / $74m / $80m
9. Enough Said - $2.5m / $5.5m / $25m
10. Instructions Not Included - $2m / $41.5m / $46m
Two of our biggest stars will literally be among the stars in hugely anticipated and massively acclaimed Gravity. This is probably one of the most exciting box-office runs of the year, if all goes according to plan. If mainstream audiences reject the film, then we're fucked. Come on, America! Runner Runner looks to be about the most bland films of the year and reviews show it. It might have done better with a PG-13 rating. Most of last week's openers went a little lower than excpected, but this seems to be a strong month with a large crop of adult-aimed films. Enough Said is proving a nice alternative to the darker fare and will continue to thrive. It's rumored to be going wide next week. Several additional movies are opening in a couple hundred theaters a piece - Parkland, Grace Unplugged and another Mexican film, Pulling Strings. Given Instructions Not Included's breakout success, that last one might be the one to watch.
1. Gravity - $37m / $37m / $140m
2. Cloudy With a Chance of Meatballs 2 - $21m / $60m / $125m
3. Runner Runner - $10m / $10m / $26m
4. Prisoners - $6m / $48.5m / $64m
*Rush - $6m / $20m / $35m
6. Baggage Claim - $4.5m / $15.5m / $27m
7. Don Jon - $4m / $16m / $25m
8. Insidious: Chapter 2 - $3m / $74m / $80m
9. Enough Said - $2.5m / $5.5m / $25m
10. Instructions Not Included - $2m / $41.5m / $46m
Two of our biggest stars will literally be among the stars in hugely anticipated and massively acclaimed Gravity. This is probably one of the most exciting box-office runs of the year, if all goes according to plan. If mainstream audiences reject the film, then we're fucked. Come on, America! Runner Runner looks to be about the most bland films of the year and reviews show it. It might have done better with a PG-13 rating. Most of last week's openers went a little lower than excpected, but this seems to be a strong month with a large crop of adult-aimed films. Enough Said is proving a nice alternative to the darker fare and will continue to thrive. It's rumored to be going wide next week. Several additional movies are opening in a couple hundred theaters a piece - Parkland, Grace Unplugged and another Mexican film, Pulling Strings. Given Instructions Not Included's breakout success, that last one might be the one to watch.
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